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Wagner: Die Walküre
"Der Ring des Niebelungen"Erster Tag
Music Drama in 3 Acts (in German with Japanese supertitles)
OPERA HOUSE
Special Cooperation: POLA Cosmetics, Inc. |
<STAFF> |
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Libretto and Music by |
: Richard Wagner |
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Artistic Director |
: Igarashi Kiyoshi |
Conductor |
: Jun Märkl |
Production |
: Keith Warner |
Set and Costume Designer |
: David Fielding |
Lighting Designer |
: Wolfgang Göbbel |
Adviser |
: Wolfgang Wagner |
Associate Director |
: Matthias von Stegmann |
Costume Superviser |
: Yvonne Milnes |
Production Manager |
: Jonathan Bartlett |
Stage Manager |
: Onita Masahiko |
Assistant Conductor |
: Lionel Friend / Misawa Hirofumi / Joya Masahiro |
Assistant Stage Directors |
: Sawada Yasuko / Emma Warner |
Orchestra |
: Tokyo Philharmonic Orchestra |
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Presented by |
: New National Theatre, Tokyo |
Co-sponsored by |
: Japan Opera Group Conference |
Cooperation |
: Japan Wagner Association |
Special Cooperation |
: POLA Cosmetics, Inc. |
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<CAST> |
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March/April 2002 |
Tuesday
26 |
Friday
29 |
Sunday
31 |
Monday
1 |
Thursday
4 |
Saturday
6 |
Sunday
7 |
Siegmund |
Robert Dean Smith |
X |
X |
|
X |
X |
|
X |
Alan Woodrow |
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|
X |
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|
X |
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Hunding |
Donald McIntyre |
X |
X |
|
X |
X |
|
X |
Hasegawa Akira |
|
|
X |
|
|
X |
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Wotan |
James Johnson |
X |
X |
|
X |
X |
|
X |
Donnie Ray Albert |
|
|
X |
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|
X |
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Sieglinde |
Susan Anthony |
X |
X |
|
X |
X |
|
X |
Kurano Ranko |
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|
X |
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|
X |
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Brünnhilde |
Linda Watson |
X |
X |
|
X |
X |
|
X |
Susan Bullock |
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|
X |
|
|
X |
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Fricka |
Fujimura Mihoko |
X |
X |
|
X |
X |
|
X |
Koyama Yumi |
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|
X |
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|
X |
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Gerhilde |
Ikehata Satomi |
X |
X |
X |
X |
X |
X |
X |
Ortlinde |
Morino Yumi |
X |
X |
X |
X |
X |
X |
X |
Waltraute |
Obayashi Tomoko |
X |
X |
X |
X |
X |
X |
X |
Schwertleite |
Kuroki Kaori |
X |
X |
X |
X |
X |
X |
X |
Helmwige |
Hirai Kaori |
X |
X |
X |
X |
X |
X |
X |
Siegrune |
Shiratsuchi Rika |
X |
X |
X |
X |
X |
X |
X |
Grimgerde |
Kan Yumiko |
X |
X |
X |
X |
X |
X |
X |
Rossweisse |
Iwamori Misato |
X |
X |
X |
X |
X |
X |
X |
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<PERFORMANCES> |
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March/April 2002 |
Tuesday 26 |
Friday 29 |
Sunday 31 |
Monday
1 |
Thursday
4 |
Saturday
6 |
Sunday
7 |
15:00 |
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X |
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X |
X |
17:00 |
X |
X |
|
X |
X |
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Doors will open 60 minutes before the opening of the performance.
Small lectures on this opera will be presented 45 minutes before the curtain time. |
<ADVANCE TICKETS> |
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Available from Sunday 9 December, 2001 at 10:00am.
To order tickets, please call +81-3-5352-9999 (10:00am-6:00pm).
Internet ticket reservation available through the following Websites.(Japanese only)
http://t.pia.co.jp/
http://eee.eplus.co.jp/ |
<TICKET PRICES> |
|
Type |
Seat S |
Seat A |
Seat B |
Seat C |
Seat D |
Seat E |
Price |
¥23,100 |
¥18,900 |
¥14,700 |
¥11,550 |
¥7,350 |
¥4,200 |
Seat Z(¥1,500) is sold only on the performance day at the Box Office and a part of Ticket Pia Offices.
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Highlights
for the forthcoming "Walküre" - by Choki Seiji (Music
Critic)
1. The Foreboding apprehended from the 2001 Performance "Das
Rheingold"
"Das Rheingold" (The Rhine Gold) proved to be a
performance with definite intensity. So-called "Tokyo Ring"
- which seems to be rather frivolously named, considering this production's
scale - may have given the audience slight incongruity.
Given a criticism that it had been too conservative in its programming and
staging, the production may be described as "Klingsor's holy spear"
hurled by the New National Theatre, Tokyo (NNTT), which was then as if trying
to prove itself that it was worthy of the word "national".
Would the spear, against the hurler's will, end up being suspended in the
air? When this outlandish Flower Garden finally disappears, would it eventually
go back to the world of Pre-Established Harmony? Or, as it gets more and
more outlandish, would it ultimately succeed to puzzle, entangle, and entertain
the audiences?
None of enthusiastic, inquisitive listeners or viewers expects the story
to end in the boring Pre-established Harmony for sure. On the contrary,
the audiences do wish to indulge themselves in a world of the inexplicable;
and wish to be enticed to the Ring's vast cosmic world, as they anticipate
that Amfortas continues to bleed. Now it is the last year's "Das
Rheingold" that hinted us those wishes could become a reality.
Following the prologue of this tetralogy, "Die Walküre"
(The Valkyrie) - the second opera of the Ring Cycle - will
be the touchstone that tells us where and how the Tokyo Ring goes
in the future.
2. Stage Director Keith Warner
Undoubtedly, "The Ring" is not only for Wagnerian connoisseurs.
The stage director Keith Warner is no way thinking of making a stage only
embellished to be a Japanese-limited version that may disregard conventional
western staging and situation. With his production "Das Rheingold",
Wagnerians, who had long waited for a production of "The Ring" that they could boast of, had their grudge finally satisfied.
In his staging for this series, Warner has taken a stance - considered to
be close to those executed by other leading, cutting-edged stage directors
in terms of his interpretation, further reading and adaptation - considering
how this production can be related to this modern day.
In this current work, directed in precisely spectacular way, the more familiar
the audiences are with its story, the more they find things mysterious in
movements and little acts of the characters.
We will wonder: How does "The Ring" come to an end with
an opening scene set in a projection room with Wotan watching a film?
Has the woman, who appears on stage together with Alberich, conceived
Hagen already? Sitting down Alberich's chair with satisfaction
after he left, what is in the mind of Mime? And what is it that Alberich
pierced his vital parts to finally deprive of his reproductive power?
3. The Orchestra under the Baton of Jun Märkl
Even to listeners who are not so familiar with "The Ring"
story, there are full of visual elements captured in the production; colorful
stage design marked by beautiful contrasts; rapidly executed ways in changing
scenes; the scene of a Large Serpent's Enter; the effective, easy-to-understand
yet unexpected use of stage settings; those elements are the representatives
of this multi-layered stage direction, which is such that the audiences
had expected the NNTT to provide. How they can enjoy the production may
vary, depend on how they are familiar with the production.
Speaking the orchestra, which is one of the most essential factor for Wagner's
music dramas, the Tokyo Philharmonic that performed for "Das Rheingold",
even for the fact that it slightly lacked a sense of solidity, succeeded
to spin Wagnerian music by taking advantage of its own lightness and nimbleness.
In that sense, the performance might have somewhat disappointed those who
had expected what is called German-style Wagnerian music, but Jun Märkl's
baton successfully placed a favorable impression for his tactics of placing
well-balanced, accurate emphasis on leitmotifs. Following the "Das
Rheingold", "Die Walküre" will be performed with
the Tokyo Philharmonic; the rest of the tetralogy will be with the NHK Symphony
Orchestra. Considering this, to see and listen to ways - very much likely
to differ between the two - executed by the two orchestras approach to this
series of production will be worthwhile for all of us.
Die
Walküre: Synopsis
As the title "Die Walküre" (The Valkyrie) -
the title in German meaning the war-maiden is in singular form with a definite
article - suggests, "Die Walküre" is a tale that follows
Brünnhilde's growth, who was born between Wotan, ruler of
the gods, and Erda, earth goddess.
Wotan intends to have Siegmund, his son by a mortal woman,
win back the Ring to rule the world. Fricka, wife of Wotan
and also goddess of marriage, becomes so infuriated at the fact that Siegmund
has committed incest with Sieglinde, his twin sister, who is married
to Hunding, as to ruin Wotan's plan. Wotan's favorite
daughter, Brünnhilde, tells Siegmund of his impending death
according to her father's order. But she gets deeply moved by Siegmund's
life where he values love the most. She then promises to take his side in
a duel to fight with Hunding.
However, interrupted by Wotan, the battle results in Siegmund's
death. Sieglinde escapes and goes off into a forest, carrying with
an unborn child fathered by Siegmund. The disobedient Brünnhilde
must get punished for defying Wotan's order. Then she tries to persuade
Wotan to understand Sieglinde's commited love and to realize
that this has been Wotan's sincere wish.
Her punishment is that she will be forced for a long sleep, shorn of divinity
and defenseless on the Valkyrie rock until claimed by the first man that
wakes her. She pleads passionately for one grace: let her rocky resting
place be guarded by fierce flames so that only a dauntless hero may penetrate
the barrier and claim her as his bride. Wotan complies with his favorite
daughter's plea and bids eternal farewell to her, ordaining that he who
proposes marriage to his daughter should be a freer man (Siegfried)
than the god who is her father. |

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